The Astoria Theatre,
157, Charing Cross Road, London, WC2

Above - The Astoria Theatre in 2006 - Photo M.L.

The Astoria Theatre was situated at the top of Charing Cross Road in
London and was built by Edward Albert
Stone, who also designed the Astoria Theatres in Brixton, Streatham, Finsbury
Park, Old Kent Road,
and Brighton. The Theatre was a conversion from a former Crosse & Blackwell pickle warehouse
in 1927 for Berkeley Syndicates Ltd. The pickle warehouse, (shown
below) was situated next to its own factory, and was built in 1893,
not long after Charing Cross Road had been constructed, and was designed
by the architect Robert Lewis Roumieu. This Street had originally been
known as Hog Lane, and then later Crown Street, before finally being
named Charing Cross Road.

Above - The former Cross & Blackwell pickle warehouse
in 1923 - With kind permission Shamus Dark. The building was later converted
into the Astoria Theatre. The photograph forms part of a wonderful set
of photos on Flickr entitled 'Charing Cross Road before Centre Point'.

When
Berkeley Syndicates Ltd converted the warehouse into the Astoria Cinema
and Dance Hall, only the brick shell of the pickle warehouse was retained.
The contractors for the conversion were Griggs and Son Limited.

Right - A Programme for the film 'Alf's Button' shown at the Astoria
Theatre on March the 24th 1930, just a few years after the Theatre Opened.

It is sometimes stated that Frank
Verity may have built the Astoria but although he was the Chief
Architect for Paramount Cinemas who eventually owned all five of the
London Astorias, Paramount did not take over until 1931, which was after
they were all built.

Right - The Astoria Theatre just prior to its demolition in January
2009 - M.L.

The
Astoria Theatre opened on the 12th of January 1927 with the film 'Triumph
of the Rat' which starred Ivor Novello, and was designed by the architect Edward Albert Stone principally
as a Cinema but it also had a large Ballroom fitted into the basement.

Left - A Thumbnail image of the Astoria Theatre in 1930 - Click to see the original.

The Ballroom was octagonal in shape and had a central dance floor surrounded
by a higher gallery and could accommodate a thousand people. This would
later be transformed into a nightclub called 'Bang' in the 1980s and
later still become known as Astoria 2.

This
prominent Theatre, forming part of a block on the corner of Charing
Cross Road and Oxford Street, had a Facade to Charing Cross Road designed
in the Italian Renaissance style and faced with cement which concealed
five storeys within.

Left - A Thumbnail of the Astoria Theatre auditorium in 1927 - Click to see the original.

Right - The Astoria Theatre just prior to demolition, in January
2009 - ML

The large auditorium consisted of Stalls and one Circle with
twenty five rows of seats in the Stalls and twenty one rows in the Circle
altogether capable of seating some 2,000 people in comfort.

Left
- A Thumbnail of the Astoria Theatre auditorium and stage in 1927 - Click to see the original.

The auditorium was in the Pompeiian style with a semi-domed ceiling
decorated with grotesques, and framed by a wide arched band of coffers.
The Proscenium was flanked by Doric columns and a grille on each side
which concealed the Theatre's organ.

The Theatre had only been running for a year when it was taken over
in March 1928 by the General Theatres Corporation under the control
of the production company Gaumont. The Times reported the sale in their
18th of January 1928 editions saying:-

THEATRE SALES -
BIG PRICE FOR A CINEMA

'It was announced yesterday by Messrs. Norfolk
and Prior that the Astoria Picture Theatre, in Charing Cross-road, had
been sold for over £250,000 to a British corporation with which
Sir Walter Gibbons is associated.

Right - Programme detail with information for the film 'Sporting
Life' shown at the Astoria Theatre March 30th 1930, just a few years
after the Theatre Opened.

Ten years later in 1938 the Astoria was in use as a Second Run House
with weekly changes of programme.

In 1948 the Rank Organisation took over the building and began to show
'First Run Features' and in 1957 on the 2nd of July the Astoria was
used for the premiere of the Michael Todd film 'Around the
World in 80 Days'. This was filmed using a new process called 'Todd-AO'
and boasted a very Wide Screen. Not overly successful this process was
only ever used to make sixteen films, but as an innovation it was deemed
very successful and these sixteen films went on to win eighteen Academy
Awards. In order to equip the Astoria for Todd-AO it had curtains installed
over the proscenium to hide the side grilles and the proscenium itself.
At the same time the seating of the Theatre was reduced from its original
2,000 to a smaller 1,357, and a new curved screen and 70mm projector
were installed.

The Astoria's second major event was on the 24th of March 1964 when
it hosted the world premier of 'The Fall of the Roman Empire.'

The Film starred Sophia Loren, Stephen Boyd, James Mason, Christopher
Plummer, and and Alec Guiness.

Left - A newspaper advertisement for 'The Fall of the Roman Empire'
which premiered at the Astoria, Charing Cross Road on the 24th of March
1964 - Courtesy Richard Carr.

For the presentation of the film the Theatre was redecorated in the
Roman Style and a classical design of wallpaper was hung in the circle
lounge with Roman trimmings erected in the foyer.

Above - The Astoria Theatre during the run of the musical 'Around
the World in 80 Days', mid 1957 - Courtesy Allan
Hailstone.

Above - A photograph of the FOH door staff at the Astoria Theatre,
Charing Cross Road, in the 1950s - Courtesy Christine Laurie whose
father, James Millgate, is second from left and the gentleman in the
middle is her partners father Lorne Laurie. The sign behind
them appears to say 'Please Note! No Jiving Allowed.'

On
the 2nd of October 1968 the Astoria was closed for major refurbishment
by the then owners, The Rank Organisation. Sadly they set about gutting
the auditorium, and stripped out most of the plasterwork, removed the
inner columns from the proscenium, and removed the domed ceiling, fitting
a suspended plaster ceiling hung from the roof instead.

Left - The Dock Doors of the Astoria Theatre in January 2009, these
permitted access for scenery to the stage - Photo M.L.

Right - Programme detail for the film 'Alf's Button' shown at the
Astoria Theatre March 24th 1930, just a few years after the Theatre
Opened.

Part of the front of the balcony was also removed at this time to
enable a better throw from the projection box, and the original 'Chocolate
Store' was replaced by a modern Kiosk. The first feature to be presented
in the newly fitted out Astoria was 'Chitty Chitty Bang Bang' which
opened on the 17th of December 1968.

The Gala premier of the Cinerama showing of 'Krakatoa, East of Java'
was held at the Astoria in August 1969 and the Theatre was renamed SS.
Batavia Queen at the Astoria Dock for the occasion. Invited guests 'came
aboard via gang-plank and were welcomed by a lining party drawn from
officers of the SS Chusan, one of the P&O crise liners.' Read all
about the occasion here.

On
the 28th of February 1976 Rank closed the Astoria and as it turned out
this was to be the last time the building would be used as a Cinema.
Later that year the building was radically altered for its conversion
to a Live Theatre by the Cooney-Marsh Group, ironically at the same
time that the former Carlton Theatre on the Haymarket was being destroyed by converting it into a Cinema.

Right - The auditorium and stage of the Astoria Theatre in its live
theatre incarnation - From 'Sightline' 1978.

In order for the Astoria to work as a Live Theatre the Stalls were
raised by five feet and lighting positions were fitted on either side
of the stage to give a frame to the stage since the proscenium was no
longer there, having been removed in 1968. The walls of the auditorium
and seating were redone in so called 'Hot Buff'.'

The
first production at the new Astoria Theatre was 'Elvis the Musical'
with P.J. Proby and Shakin Stevens in the cast.

Left - A Programme for 'Elvis' at the Astoria Theatre in 1978. See
details below.

Right - A Thumbnail of the Astoria Theatre during the run of 'Elvis'
in 1978 - Click to see the original.

'Elvis' opened on the 28th of November 1977 and went on to win the
Evening Standard's 'Musical of the Year Award' in 1978. (See more
details on this show below.) After Elvis
closed it was replaced by a production of the musical stage version
of 'Grease' with Tracy Ullman and Sue Pollard in the cast, which ran
for for 3 months. This was then followed by a rather unsuccessful production
of 'Beatlemania' which opened at the Theatre on the 18th of October
1979.

Above - The Astoria Theatre during the run of 'Elvis'
in early 1978 in a photograph which also shows the frozen fountains
outside the Centrepoint building opposite the Theatre - Courtesy Thomas
Brain.

Above - The Astoria Theatre during the run of 'Beatlemania'
in 1979 - Courtesy Erwin Bouwmeester

In
1980 the show 'Ipi Tombi' was transferred from the Cambridge
Theatre to the Astoria, opening on the 20th of February 1980. The
show had previously run at Her Majesty's
Theatre from November 1975 before transferring to the Cambridge in March 1977.

Right - A programme for 'Ipi Tombi' whilst at the Cambridge
Theatre in 1977, before transferring to the Astoria Theatre in 1980
- Kindly Donated by Linda Chadwick - Click to see more information from this programme.

Sadly the Theatre's venture as a live theatre was never very successful
and the Theatre was soon closed and reincarnated as a theatre restaurant
which opened on the 15th of June 1982 with a show called "Wild,
Wild Women."

The refurbishment for this venture was carried out by the architects
Dowton & Hurst in 1981 who enlarged the steps of the balcony to
create wider and deeper tiers to enable seating and tables to be added
to accommodate approximately 400 people. A retractable cinema screen
was also fitted in order that films could be screened before shows.

Above - The Astoria Theatre during the run of 'Yakety
Yak' in 1983 - Courtesy of Drac

Above - The cast of 'Yakety Yak' on stage at the
Astoria Theatre in 1983 - Courtesy of Drac

After
'Wild, Wild, Women' the Astoria went on to stage 'Yakety Yak' which
opened on the 18th of January 1983. This was a musical based on the
songs of Jerry Leiber and Mike Stoller which first opened at the Half
Moon Theatre before transferring to the Astoria. The show starred Darts
and the McGann Brothers but only ran for a few months, although it was
produced on Broadway later that year.

After
Yakety Yak the Astoria became home to the Bill Martin produced musical
"Jukebox", which ran from the 4th of June to the end of December
that year.

Right - A programme for 'Jukebox' at the Astoria Theatre, Charing
Cross Road in 1983 - Courtesy Julian
Wild.

Written by Mark Donnelly, and directed and choreographed by Steve
Merritt, 'Jukebox' was apparently a very popular musical, with packed
seats most nights, but even so the show closed in the last week of 1983.

Left - A press cutting announcing the Royal Command Performance
of Jukebox at the Astoria Theatre, Charing Cross Road on November 7th
1983 - Courtesy Mark Donnelly.

One
newspaper at the time reported on the forthcoming production of Jukebox
at the Astoria saying: 'Nostalgia the way it used to be, we've had Fifties
nostalgia, we've had Sixties nostalgia, now they say Seventies nostalgia
is on the way. (Platform shoes  yeuk!)

Right - Gerry Manly (Left), Julian Wild (Centre), and Sean Kay (Right),
rehearsing with other members of the cast of 'Jukebox' which opened
at the Astoria Theatre in 1983 - Courtesy Julian
Wild.

It's clever of Jukebox, a musical extravaganza featuring songs from
the Fifties, Sixties and Seventies, to cash in on all three. Jukebox
follows Yakety Yak into the re-vamped Astoria in Charing Cross Road.
Its 26-strong singing and dancing cast are young, unknown ("much
more exciting to see a star emerge from nowhere" says producer
Bill Martin) and Possessed of a dauntingly high energy level.

Above - The cast list and running order of 'Jukebox'
at the Astoria Theatre, Charing Cross Road - From a programme for 'Jukebox'
in 1983 - Courtesy Julian
Wild.

If that last name sounds familiar, it's because as a songwriter Bill
Martin had mainstream hits like "Puppet on a String", "Congratulations",
"Heart of Stone" and a lot of the Bay City Rollers' stuff
(remember the Bay City Rollers?) to his credit. For Jukebox, he's picked
a range of songs from "Good Golly Miss Molly" through "You've
Got A Friend", "Hard Day's Night" and "YMCA"
to "Fame". Jukebox opens on Thursday with a charity premiere
in aid of the Music Therapy Charity.' - Press cutting and photo courtesy Julian
Wild.

Above - The cast of 'Jukebox' at the Astoria Theatre,
Charing Cross Road - From a programme for 'Jukebox' in 1983 - Courtesy Julian
Wild - The white haired man wearing a suit in the middle of the
photograph is the producer of 'Jukebox', Bill Martin, and the younger
guy with black hair standing to his right is Steve Merritt, the director
and choreographer.

In
1984 the Howard Goodall musical 'The Hired Man' was produced at the
Astoria by Andrew Lloyd Webber. The show opened on the 31st of October
but this only ran for 164 performances, a total of 5 months, and again
the Theatre was closed down. The following year a show called 'Lennon'
was tried, opening on the 11th of February 1985, but this failed to
enthrall anyone and this proved to be the end for the Astoria in this
incarnation.

Right - A Programme for 'Lennon' at the Astoria Theatre in 1985.

The
Astoria was then converted into a Live Music Venue by removing the seats
in the stalls, converting the stage into a dance floor, adding a bar
to the rear stalls, and converting the circle to nightclub style seating
with tables and more bars. Around this time the former Ballroom in the
basement of the Theatre was converted into a gay nightclub called 'Bang.'

Left - The Astoria 2 in January 2009, a nightclub which was originally
a Ballroom situated in the basement of the Astoria Theatre. - Photo
M.L 09.

The Astoria had been staging live music concerts and been home to the
nightclub 'GAY' at weekends ever since but had become very run down
over the years. Despite a coat of paint to the exterior in 2007 the
Theatre had been in serious decline for years despite its success as
a music venue and its hordes of loyal fans. The final blow came in 2008
with the news that the Astoria Theatre was soon to be demolished.

A Compulsory Purchase Order was served on the building, and all the
other properties on this prominent corner block on Charing Cross Road
and Oxford Street, on the 17th of October 2008 in order that they could
all be demolished so that construction work could be started on a new Crossrail station for Tottenham Court Road.

The
Astoria Theatre closed for good after a final farewell concert called
the 'Demolition Ball' on Wednesday the 14th of January 2009.

The old Ballroom in the basement, which had long been used as a nightclub,
closed the following night.

Preparatory work began the following week for the Theatre's demolition.

Right - The main entrance doors to the Astoria Theatre are closed
for good in January 2009, just prior to the Theatre's demolition. M.L.

During the demolition of the Theatre a huge
haul of old jars from the building's original purpose as a Crosse &
Blackwell pickle warehouse was discovered in bricked up cellars below
the building, many of which were displayed in a temporary exhibition
of Crossrail
Archaeology at the Museum
of Docklands in the spring of 2017, a few photographs of which can
be seen below.

Above - Old jars from the Astoria Theatre's previous
incarnation as a Crosse & Blackwell pickle warehouse, discovered
in bricked up cellars below the building during its demolition,
as displayed in a temporary exhibition of Crossrail
Archaeology at the Museum of Docklands in the spring of 2017 - Photo
M.L.

Westminster
Council have proposed that a new Theatre will be built as a replacement
to the Astoria Theatre but only time will tell if it actually happens,
and indeed if it's a suitable replacement for this historic and much
loved building.

Right - A hoard of old jars from the Astoria Theatre's
previous incarnation as a Crosse & Blackwell pickle warehouse, discovered
in bricked up cellars below the building during its demolition,
as displayed in a temporary exhibition of Crossrail
Archaeology at the Museum of Docklands in the spring of 2017 - Photo
M.L.

In October 2011 it was announced that AHMM had designed the replacement Theatre and lodged the plans with Westminster
Council.

The Theatre would seat 350 people and would likely be run by NIMAX
Theatres. The Scheme also includes an eight storey office block
and shops. It would be good to have a new small Theatre space in London
but the scheme may be a disappointment to those who were hoping for
true replacement for the much loved Astoria Theatre.

Left - An artiste's impression of the Astoria Theatre's
Replacement Proposal of 2011.

Much of the information on the Astoria Theatre above was very kindly
sent in, after careful research, by Andrea Beeson. Most of the photographs
on this page were taken by myself in 2006 to 2009. The Thumbnail images
were resized from images held on the photo sharing website Flickr and then linked to their own pages. It is hoped that these images will
be of interest to visitors of this page and help to collate archive
material but if you have an issue with this please Contact
me.

Excerpts from
the opening night souvenir programme for 'Elvis' on the 28th of November
1977

Above - The Astoria Theatre during the run of 'Terry's
Juveniles' - From the opening night souvenir programme for 'Elvis' on
the 28th of November 1977

Built on the site of a jam factory,
and making free use of its foundations, the Astoria, billed as 'London's
Supreme Cinema' opened to the public in 1927. The building, comprising
a 2000 seat cinema, and a downstairs ballroom (now a discotheque), was
designed by the team Verity and Beverley. Frank
Verity (1867-1937), appointed as architect for the Astoria-Paramount
chain, became the first 'specialist' picture theatre architect, pioneering
in this country what were known as the 'super deluxe' cinemas.

In 1923 Frank Verity had designed the first large scale
cinema - the Shepherd's Bush Pavilion. The architectural profession
had at this time given little consideration to picture houses and when
Verity announced his plans they were rather dubious. But Verity won
the Royal Institute of British Architects award for 'the best frontage
completed during 1923 within a four mile radius of Charing Cross', also,
the cinema was a great success playing to 25,000 people a week. (Please
note that the architect for the Astoria was actually Edward
Albert Stone, see top of this page for details.
M.L.)

The demand for the new-style cinemas was apparent and
the fashion set. With the rush for new cinemas the individualist architect
came into his own and many young architects made their names.

When considering those period picture palaces 'individualistic'
is certainly the correct term. They have been an integral part of the
urban landscape, but recent years have brought the ubiquitous Bingo
and the mini-cinema complex to change all that. To our late twentieth
century eyes those 'individualistic' 1920's architects' ornate use of
decorative detail, mostly inclining to the Italian, could perhaps be
best described as over-lavish. Regardless of one's views, in this Frank
Verity set new standards in quality and finish.

Above - The Astoria Theatre's auditorium - From the
opening night souvenir programme for 'Elvis' on the 28th of November
1977

A description from the Builders Journal of 1927 makes
the original interior of the Astoria seem a little removed. `Designed
upon Roman lines the cinema follows the pompeian style of decoration.
The vestibule, 25ft wide, has vari-coloured marble columns flanked by
gold and white decorations'.

In these new 'super-de-luxe' cinemas it was the auditorium
itself especially the area of the screen where the fantasy of the film-makers
vied hard with the creativity of the architects. Here at the Astoria
the designers appear to have been relatively restrained, and the proscenium
was allowed to look like a proscenium rather than a gothic shrine or
a Mediterranean villa. The description continues: `The proscenium which
is flanked by Doric columns, with a grill on each side concealing the
organ, has a richly moulded opening 44ft wide, and the stage is of a
depth capable of accommodating the most elaborate style setting'. In
general the article notes 'the theatre provides accommodation for 2000
persons, all with a clear view of the stage.'

During the late fifties the cinema interior was redone
to make provision for the large screen needed for the epic film. The
Astoria re-established its importance by re-opening with 'Round the
World in 80 Days'. It then played through the next decade a series of
large-scale pictures including '55 Days at Pekin' and 'The Fall of the
Roman Empire'.

And so the Astoria's history as a cinema ends. This highly
successful conversion to a live theatre, the largest and most ambitious
project of its kind ever attempted in the West End, with only a limited
precedent established with the smaller Regent and King's Road Theatres,
is a very exciting development for the Astoria's future. We can only
wish it every success.

Converting the Astoria - From
the opening night souvenir programme for 'Elvis' on the 28th of November
1977

November
28th marks a unique happening in the Charing Cross Road. A new theatre
comes into being and, furthermore, a theatre created out of a cinema.

A great deal of money has been spent on this conversion
and the result is a supremely comfortable 1200 seater with perfect sight
lines from every seat in the house. The stage itself is 'open' with
no proscenium arch, and can be favourably compared with the recently
opened 'Olivier' at the National Theatre.

Various alternative schemes with reraked stalls and enclosed
stage were considered, however after careful consultation these ideas
were declared not viable.

There is dressing room accommodation for 20 artistes and
the stage area, which has an orchestra pit capable of seating 16 musicians,
measures 52 feet by 30 feet.

The management controlling the Astoria is the well known
and experienced Cooney-Marsh Group. Laurie Marsh is the Chairman of
the highly successful Classic Cinemas, whilst his partner, Ray Cooney,
is perhaps best known as the author or co-author of such hits as`Chase
me Cornrade', 'One for the Pot', 'Not now Darling', 'Move over Mrs Markham',
and `Why not stay for breakfast', as well as being responsible for presenting
or co-presenting `Ipi Tombi', 'Banana Ridge', 'Dear Daddy', 'Murder
at the Vicarage', 'Fringe Benefits', 'Lloyd George knew my Father' and
many others.

Theatre controller for the group is farce king, Brian
Rix, now retired from the stage, although still active in television.
His list of successes goes back to 'Reluctant Heroes' in 1950, but his
serious side too, is well known and he was recently awarded the CBE
for his services to the handicapped.

The
Astoria Theatre is the ideal home for musicals - but it is intended
to make a it a truly 'live' theatre - for seven days a week, for all
manner of entertainment, plus art exhibitions, a restaurant and buffet
bar facilities.

Stage lighting facilities include the new lighting galleries,
stretching the full width of the stage.

Always the bridesmaid - By Brian Rix

Thirty years ago (can it be so long?)
I became an actor-manager. I was twenty-three years old, wet behind
the ears, fresh out of the Air Force and with two years' acting experience
behind me. My motive was devastatingly simple: The need to work - not
if and when others would employ me - but at all hours and on all days
at the one job I loved and understood. Luck was on my side and within
three years I was ensconced at the Whitehall.
There I stayed for sixteen years but in all that time I never ceased
to chafe at the inactivity facing West
End actors and theatres during the day, and so created work, with
a great deal of help from the B.B.C., to while away the hours. As a
result, nearly seventy plays were rehearsed and presented from the Whitehall
(and later the Garrick) till Bank Holidays
became a thing of dread for all those who hated farce on television!

In
the meantime events overtook me. Bernard Miles conjured the Mermaid
out of thin air; John Neville nursed the Nottingham
Playhouse into lusty adolescence; others were in the van or hard
upon their heels, and the National Theatre is but a glittering jewel in the crown of those who brought forth
theatres which were (and are) not only places of culture, but of entertainment
and activity lasting for many an hour of each day.

Right - Brian Rix - From the opening night souvenir
programme for 'Elvis' on the 28th of November 1977.

So it seemed I would always be the bridesmaid. Eight
performances a week and a dark theatre for the rest of the day would
be my lot. Then at the end of 1976 Ray Cooney suggested that I might
care to join the Board of the Cooney-Marsh Group as Theatre Controller.
It would mean giving up regular acting on the stage - but as my notoriety
appeared to be based on the number of times I had dropped my trousers
in public, I felt the loss could easily be born by both the theatregoers
and myself. My acceptance of the position came in about two minutes
flat. At last I had a chance to be the Bride and the aisles of the
Astoria Theatre are as good a place as any to flash smiles at the
assembled congregation. Here in Charing Cross Road and within the
re-built confines of an old jam factory-cum-cinema, are as many of
the perks as you are likely to see anywhere in a modern theatre.

First the theatre itself. An open stage, fully equipped
with the latest lighting and sound. Perfect sight-lines for the audience
and legroom for the tallest among you. Backstage, the artists are
housed in comfort and with a goodly sprinkling of shower-baths to
cool them after sustained effort. When I was a lad luxuries like this
were unknown and one of my claims to fame is that I fought for shower-baths
to be installed in the Whitehall,
the Garrick and the Cambridge
Theatres. I will resist the obvious pun about good clean fun,
but remind the reader that a lack of shower baths for actors belonged
to the same era which decreed that members of the public could only
use the theatre during the hours of performance.

So
what else do we offer you? A stalls bar which is open every week-day
for buffet lunches as well as booze; a fully operational ticket agency
(in conjunction with Abbey Box Office) which enables you to book for
any theatre in town, as well as other activities; a Credit card system
which is second to none in its ease of operation and availability
for the telephone booker; an Art Gallery which exhibits paintings
organised by a group of enlightened business houses, calling themselves
'Industrial Sponsors'; and a restaurant created out of the old circle
bar - which in turn, becomes the Circle Bar during performances. Lest
our kitchens remain underworked, we even offer outside catering from
the Astoria - and no doubt experience will enable us to add to all
these extra-mural activities.

Left - Credits for the conversion of the Astoria
Theatre.

Welcome then to the Astoria. Created by private enterprise,
at a time when all new theatrical activity seems to need the support
of the Arts Council or local government, it must surely be unique
in this last quarter of the twentieth century. Our only help has come
from those listed on Page 39 (Shown Left). Our grateful thanks
to them, and to you - for without an audience actors look pretty lonely.
So do restaurants, ticket agencies, art galleries etc. Welcome to
you all. Long may you grace these portals . . .

Financing the commercial theatre in
London - By Laurie P Marsh - From the opening night souvenir programme for 'Elvis'
on the 28th of November 1977

It
is often stated that London's theatre is 'the finest in the world' and
the Tourist Board tells us that well over two million theatre
tickets a year are bought by overseas visitors. Despite the immense
publicity achieved by the National Theatre it should be remembered that London's theatres are mainly private enterprise operations. The
continuity of many of these Theatres has been threatened for many years,
often by redevelopment projects either comprehensive or individual,
but some through lack of financial support. The Arts Council of Great
Britain has initiated numerous reports and published statements supported
and welcomed by various organisations interested in saving theatres.
Nevertheless the government and financial institutions, although often
expressing goodwill and concern, do not materially assist the commercial
theatre in any way.

It is acknowledged that the building and equipping of a new theatre
is nowadays only deemed to be economically viable if included among
other more rewarding property development. It is also maintained that,
because theatres lack flexibility of use as property, they are not readily
accepted as security for funding purposes.

Despite these financial strictures, for some years I have been modernising
and saving theatres from closure and reopening them. Starting with the
famous Windmill Theatre which
I acquired in 1968 and re-opened as a beautiful 312 seat auditorium
in September 1974 after a year of re-building costing over £250,000.
The Broadway in Maida Vale with some 500 seats completed earlier this
year after a conversion absorbing similar time and cost. The latest
theatre to be re-built is, of course, the Astoria, about which other
contributors are writing at length, and which has taken a year of planning
and under one year to rebuild the auditorium and stage area. This project
has been the most sophisticated of them all and naturally by far the
most expensive. I am particularly grateful to Ian Albery my technical
consultant and Donald Armstrong, the partner of Dowton and Hurst our
architects, both of whom have devoted countless hours to the development,
wholly justified as can be seen.

In
addition I have re-opened the Regent (Poly) in Regent Street and have
been responsible for converting the Kings Road Theatre, Kings Road,
Chelsea. The latest acquisition is of course the Shaftesbury which in the next two or three months we aim to return to its former
glory by cleaning and restoring the beautiful exterior stonework and
arranging the exterior gardens.

Left - The Rt Hon Keneth Robinson, Chairman of the Arts Council.

These theatres coupled with the experience of Ray Cooney, Brian Rix
and the team have resulted in the emergence of a new and vital theatrical
group which was finally incorporated in September 1977 under the banner
of Cooney-Marsh Group Ltd. This we hope will continue the breakdown
of the monopoly of interlocking arrangements known as 'the Group' which
has controlled and operated the West
End theatres for some 40 years.

There are a number of ways in which my somewhat lonely efforts could
be supplemented. For a long time the arts have been aided by commercial
industrial and financial institutions both for altruistic and commercial
reasons, but there is no record of any national or international company
sponsoring commercial theatre in Great Britain. It seems that this vital
area,with its attendant benefits to the community and prospective sponsors
concerned, has so far been overlooked. The financial funds, sources
and institutions are not only guilty of this lack of support but also
have not yet seen fit to provide long term finance for theatre acquisition
or improvement regardless of the commercial viability or desirability
of such projects. Since a nation's arts have long been considered a
crucial yardstick to the state of the society therein, this might well
be an area where government pressure might be brought to bear.

We, as our programme of expansion unfolds, shall re-invest our profits
to re-build and improve our existing theatres and re-open more theatres
at every opportunity, and we feel that the Astoria's an excellent example
of what can be achieved, and of which we feel we have every right to
be very proud.

Laurie P Marsh.

"Elvis" - The Production
- By Ray Cooney -
From the opening night souvenir programme for 'Elvis' on the 28th of
November 1977

The
'backroom boys' involved in the production of 'Elvis' number more than
the combined total in all my previous productions put together! We have
had three researchers who, between them, have spent 1000 hours delving
into and sifting through the millions of words and thousands of photos
published during the life, career and times of Elvis Presley. The information
having been gleaned we then had to approach more than a hundred individuals
and companies to clear the copyright and obtain permission to use the
various articles and photographs used in the production  photographs
ranging from early Presley family in Tupelo to a laughing R.A.B. Butler
(not easy to come by!). Our photographic team numbered 18 and they have
been responsible for producing in excess of 2,000 slides in both colour
and black and white.

The enormous screens used in the show measure 40ftx 20ft and are the
largest ever designed as a permanent setting in a stage production anywhere
in the world. The 12 projectors used give both back and front projection
and require from the people operating them a split-second timing.

In addition to the 'still' photos used in the show there is a combined
total of half-an-hour of movie-film comprised of such diverse clips
as Queen Mary and George V at their 1935 Silver Jubilee, the First Moon
Landing, and Elvis during his army service. Our movie researchers travelled
throughout Europe and America to obtain the material and they reckoned
they looked through 125 miles of film! The theatre has had installed
two projectors, one for colour and one for black and white.

The sound system installed for the shows is probably the most sophisticated
in London  and it has to be! Our thirteen musicians have to contend
with approximately seventy non-stop musical numbers so we have a permanent
team of five technicians to deal with the many varied sounds from the
simple style of Elvis and his early recording days through to the Las
Vegas period.

The exciting lighting effects have meant the installation of two computerised
'memory' boards. At a quick count we have two thousand lamps in use
in the theatre  mind you, this includes dressing rooms and loos.

Above - Timothy Whitnall, Shakin' Stevens, and
James Proby in 'Elvis' at the Astoria Theatre - From the opening night
souvenir programme for 'Elvis' on the 28th of November 1977

Probably  and quite rightly  the most detailed
research has gone into the musical numbers. Every number ever
recorded by Elvis Presley was obtained, listened to scores of
times and discussed for hours on end. There are over a hundred
composers and lyricists involved and permission had to be obtained
from each and every one for his work to be performed in 'Elvis'!

In addition to those involved in the research, the projections,
the movie excerpts, the sound, the lighting and the music, we
have another eighteen people involved 'back stage' and a further
twenty-two people in the production office. It's a lot of people
 but it's been a lot of fun. We all hope you enjoy 'Elvis'
as much as we have. Ray Cooney.

Timothy Whitnall

Timothy Whitnall's
career in show business is non-existant. 'ELVIS' marks
his very first production ever in London or elsewhere.
Just sixteen years of age when cast in the role of the
Young Elvis, Tim was a pupil at St. Benedicts School, Bury St. Edmunds. He was
studying for his 'A' levels, Art. Geography and English.
Hearing Director Jack Good on a recent 'Start the Week'
radio programme prompted Tim to apply along with hundreds
of others for an audition. He has done 'Elvis' impressions
for family and friends since the age of 12 and publicly
for the first time last Easter, during a school concert.
A keen record collector, Timothy plays the guitar and
piano and 'dabbles' with many other musical instruments.
His one and only Job before his lucky break was as a part-time
Saturday shop assistant in Boots the Chemist in his home
town.

The
son of a miner, Shaky was born in Cardiff, South Wales
twenty-six years ago. He was encouraged by teachers
at school to pursue a career as a singer. After playing
locally, around Wales, the big break came when he and
his group the Sunsets were asked to support the Rolling
Stones in their 1969 concert at the Saville
Theatre. Since then the group have been rockin"n
rolling on with some success, Shaky's records "Sea
Cruise' and "Lonesome Town" were European
hits, and he is now very happy to be working with Mike
Hurst of Track where he is in the process of recording
an L P His record 'Never' was a minor hit earlier this
year and his current release is "Somebody Touched
Me''

Born
James Marcus Proby in Houston Texas, James graduated
from the Western Military Academy Alton, Illinois, and
went to Hollywood where he worked in films for a couple
of years. He was signed as a writer by Liberty Records
following an introduction by Sharon Sheeley and Jackie
de Shannon. It was they who introduced Proby to Jack
Good who engaged him for the pilot of a TV Show that
became an international success 'Shinclig' Following
this Brian Epstein and Jack Good brought him to England
for the Beatles' first 'Special'  'Around the
Beatles' After this Proby's career really took off,
and his recording of 'Hold Me' rising to number 3 in
the charts clinched it. This was followed by 'Together'
After taking the Royal Albert Hall by storm, Proby appeared
in concerts and television all over the world. Success
followed success with such records as 'Somewhere' and
'Maria' In 1970 Proby again linked with Jack Good to
play Cassio in the London production of 'Catch My Soul:
Since then there have been more concerts, cabarets and
television shows, culminating with his appearance in
'Elvis'.

Demolition of the Astoria Theatre

The Astoria Theatre closed for good after a final farewell concert called the 'Demolition Ball' on Wednesday the 14th of January 2009. The old Ballroom in the basement, which had long been used as a nightclub, closed the following night. Preparatory work began the following week for the Theatre's demolition. Westminster Council have proposed that a new Theatre will be built as a replacement to the Astoria Theatre but only time will tell if it actually happens, and indeed if it's a suitable replacement for this historic and much loved building. Below are some photographs of the Astoria Theatre prior to, and during, the Theatre's demolition.

Above - Workmen in the foyer of the Astoria Theatre preparing
the building for demolition in January 2009 - Photo ML

Above - The foyer of the Astoria Theatre, just prior to the building's
demolition, in January 2009 - Photo ML

Above - The side elevation of the Astoria Theatre on Sutton Row,
just prior to demolition of the Theatre, in January 2009 with the
iconic 1960s Centrepoint building in the background - Photo ML

Above - The side elevation of the Astoria Theatre on Sutton Row,
just prior to demolition of the Theatre, in January 2009 - Photo M.L.

Above - The rear elevation of the Astoria Theatre on Falconberg
Mews, just prior to demolition of the Theatre, in January 2009 - Photo
M.L.

Above - The side elevation of the Astoria Theatre, just prior
to demolition of the Theatre, in January 2009 - Photo M.L.

Above - Loyal fans of the Astoria Theatre leave their mark on
the building just prior to its demolition, in January 2009 - M.L.

Above - The Astoria Theatre and the rest of the block of buildings
on the corner of Charing Cross Road and Oxford Street, just prior
to their demolition, in January 2009 - M.L.

Above - The Astoria Theatre just prior to its demolition, in January
2009. To the right centre can also be seen the Dominion
Theatre - M.L.

Above - Scaffolding begins to rise around the Astoria
Theatre prior to demolition in March 2009

Above - Scaffolding covers the Astoria Theatre during internal
demolition in May 2009

Above - The Astoria Theatre and the rest of the block of buildings
on the corner of Charing Cross Road and Oxford Street during demolition
work in May 2009

Above - The Astoria Theatre shrouded in scaffolding
during the Theatre's demolition on the 16th of June 2009

Above - The Astoria Theatre being demolished in a photograph taken
from the 32nd floor of Centrepoint in July 2009 - Photograph courtesy Andrew
Woodyatt

Above - The site of the former Astoria Theatre in
a photograph taken from the 32nd floor of Centrepoint in October 2009
- Photograph courtesy Andrew
Woodyatt

If you have any more photographs for the Astoria
Theatre that you think would enhance this page, or you were working
on the demolition of the Theatre and have internal photographs you are
able to share, please Contact
me.

Archive newspaper reports on this page were collated and kindly
sent in for inclusion by B.F.